- Twentieth Century Fox
Academy Award-winner Steve McQueen is a brilliant director. Although he has only made three features in the last decade — prior to his new thriller Widows — each of those films was clearly different and truly memorable, especially his controversial 2011 drama Shame, which starred Michael Fassbender as a New York City sex addict, and his brutal, 2013 Oscar-winning drama 12 Years a Slave.
Sadly, his early cinematic achievements make Widows all the more disappointing. Knowing what he is capable of doing behind the camera, it’s unfortunate to see how incredibly ordinary of a heist movie it turned out to be. Even with a top-notch cast, its sprawling narrative ambition, flimsy characterizations and vague central plot push Widows to the brink of total collapse.
Set in Chicago, Widows kicks off with serious potential. McQueen and co-writer Gillian Flynn (Gone Girl) introduce audiences to a foursome of criminals who are quickly dispatched during a heist gone wrong. Left to mourn them are their wives — Veronica (Viola Davis), Linda (Michelle Rodriguez), Alice (Elizabeth Debicki) and less-important Amanda (a wasted Carrie Coon). When Veronica learns that her husband Harry (Liam Neeson) owes $2 million to some shady associates, she takes a set of blueprints left behind by her dead husband and decides to organize a robbery with the help of Linda and Alice, so they can pay off the debt.
- Twentieth Century Fox
Bursting over with more subplots than McQueen and Flynn know what to do with, Widows also follows a powerful and corrupt political family, led by father-son tandem Tom and Jack Mulligan (Robert Duvall and Colin Farrell), who get caught up in dirty deeds with one of Veronica’s debt collectors. Their story interlinks to one of the overall themes of the film, which attempts to deliver a reflective message about race, class and gentrification, but does so without much enthusiasm or emotion.
Regrettably, Widows forgets that it is — first and foremost — supposed to be a believable heist flick. There is so much happening away from their actual strategy, Flynn neglects piecing together a logical way to get Veronica and her crew to accomplish the feat without mucking it up. Sure, there’s a little preparation involved as we watch the women scout the location and talk through the importance of avoiding slip-ups, but once it’s time to execute the plan, moviegoers will be hard-pressed to explain how these characters are even remotely close to being ready for such a dangerous mission.
Add to this a handful of obvious plot holes and secondary storylines about a tense election, a rich developer procuring sexual services from Alice, a dead son, a fifth single mother trying to make ends meet, a hairstylist with a loan problem and an anticlimactic twist, and Widows spreads itself to waifish proportions.